The F.U.D.G.E. Theatre Company’s summer offering is the sweet and soulful Violet by Brian Crawley and Jeanine Tesori. A perfect closure to the company’s brooding season, Violet is an inspirational tale of a young girl on a journey of self discovery to find the true meaning of beauty after a childhood accident leaves her hopelessly scarred.  Told in the past as well as the present, we see Violet struggle to overcome the pain of disfigurement in a world where beauty is the ultimate commodity.  FUDGE’s production is nuanced, provocative, and impeccably acted and sung.

The show’s namesake is portrayed in both her adolescent and adult realities by Kacee Staiti and Shawna O’Brien, respectively.  Both regulars of the company, they are at their finest with this smooth and twangy country sound.  Staiti is heart-rending as the younger Violet.  Her pain is raw and palpable, her innocence interlaced by a precocious charm that shines through her malady.  O’Brien is every bit as raw as her counterpart, but with a carefully controlled pain and confidence.  Her voice floats above the orchestra and grabs the audience immediately.  I was choking with tears to see such a beautiful woman sing of indescribable pain, for you see neither manifestation of the Violet character bares a visible scar in the piece.  Though this might be momentarily confusing for an audience that has read the play’s description, it becomes immediately apparent that no makeup could ever illustrate a scar as disfiguring as the one we can imagine in our minds.  It says so much more about the nature of pain and beauty and the relationship to beauty and society when you see these two beautiful women go through this journey while still looking “whole”.  In this way, their “scars” can stand in for the scars that each of us carry, be they physical, spiritual, mental or otherwise.

These two phenomenal ladies are flanked by a talented and dedicated cast that burst through the audience with the life and vivacity of the deep South.  Love interests Flick and Monty, played by Kaedon Gray and Jared Walsh, are as night and day for Violet.  The love triangle develops, with Monty’s interest in SPITE of the scars and Flick’s interest BECAUSE of them, until even the audience isn’t sure who to choose.  Gray is a wonderful Flick (though at times very hard to hear) with a mellow sound and tender disposition, and Walsh is a slick and quick Monty, perfectly capturing the quintessential all American boy-next-door.   Todd Sandstrom play’s Violet’s father with a perfectly juxtaposed sad/humor, blooming with warmth and love for his daughter as they both struggle through the guilt and anger of the tragic accident.   The excellent ensemble includes some inspired performances by Nella Mupier (whose gospel solo is a highlight of the show) and James Petty as the preacher whose loss of the Spirit renders him impotent in his ability to help Violet.  Petty is spectacular here, and his accent is the best in the show.  His “used car salesman” ensemble adds an uncouth touch to his charming good looks (bravo costume designer, AnneMarie Alvarez ).

The production team was as its finest for this summer offering.  Music Direction by award winning Jose Delgado was perfection, the ensemble moved as a well oiled unit, and the blend was beautiful.  Director Joe DeMita continues to grow as an artist, this show was a great culmination of a season of unique and special shows, and DeMita has been at the forefront helping the audience to perceive theatre in new and different ways.  Violet never felt slow or preachy, it has a perfect combination of tenderness and humor, and was a great fit to the FUDGE archetype.

There’s still a weekend left to see this show, I wouldn’t miss it.  Violet is absolutely an under-produced gem in the theatre world, and I think FUDGE did one heck of an excavation.

Young Violet and her Father bond over a poker game  (photo by Jesse Strachman)